The project “nature” starts in 2004, together with the netlabel, with the aim to represent the electronic sound as it was before the path that has brought it, at the end of the 90’s, to the full abstraction of its origins, towards the virtual timber.
The innovative technical element often brings along aesthetic changes. The “ideal” synthetizer, able to reproduce any sound, existing or not in nature, has fed the aesthetics of subtraction as pure search for the sound, occupying the space that was once left to the melodic element.
Recently, some authors have tried to overturn this concept. Yet, directing their attention mainly to the effect produced by the combination of notes, they have moved instead towards the impoverishment of the sound, taken back to its basic structure of “pure wave form” (see Transient release, Lav14).
That is a kind of return to the original structure of music, to its “natural” element.
In the present episode, we hang in the balance between a quite “simple” sound (although not “pure”), and a kind of basic melody trying to emerge from the sound matter. The feeling is that of being in a field both wide and classic at the same time for electronic music, between some ambient music and some 90’s IDM.
It comes only natural, in this path trying to give music concreteness, and a new task to depict reality, that were are faced with questions about reality and its representation.
If it is true that the very essence of reality is numeric and quantitative, the world of its complex articulations can be carried out by its representation by always more “precise” digital instruments. But are relations among numbers really everything? To contain the whole world in a LCD screen, do we have to just raise the resolution beyond the 1024 pixels? Is every quantitative limit won by the progress of machines? Or is there something beyond this description? Is it more real the world or its representation? Art or nature?